I’ve received several private messages on my post, suggesting that Terfel and Bondy may
not have gotten along, and/or I am misinformed about Terfel not wanting to appear in
Bondy’s production, one under the seemingly misguided notion Terfel’s choice of a new
Falstaff instead of repeating Scarpia. Who WOULDN’T want to star (a) in a lavish new
production over a revival; and (b) choose Falstaff over Scarpia? The opera is, after all
called “Falstaff.’
After Bondy's death, Terfel went out of his way to give glowing comments about the
director, wishing there were more like him.
I've always thought it a pity that Bondy's work was generally highly praised and prized, and
his one "miss" was with Tosca (he dedicated his production to the memory of his father,
whose favorite opera this was) and that most New Yorkers - or at least those whose only
dealings with his work were with his Met Tosca, don't have a clue about what a theatrical
master Bondy was.
After his Met appearances, Terfel appeared in at LEAST two more revivals of the Bondy
production: both times in Munich, first in 2012, then again in 2016. Reports confirmed the
plaza being jammed with people hoping to score a ticket (having Harteros and Kaufmann in
the show didn’t hurt either) and ovations for everyone were thunderous. Even Bondy’s once
reviled production – having undergone a bit of tweaking ( i.e., no more jumping dummy)
was enthusiastically received and garnered positive reviews.
Donald Kane didn’t care for the photos or clips I shared of the Lehnhoff production; his
prerogative, but audiences loved and cheered the production, and the DVD is one I wouldn’t
want to be without.
Vive la difference.
p.
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